However closely she references classical, renaissance and modernist genres, her paintings never lapse into nostalgia, but instead give off an arch contemporary emotion.
Hints of past layers visible beneath the surface are the only counterpunch to a solid machine that affords little room for speculation beyond its shiny and seductive design. The label of “primitive” given to Overstreet and many of his peers in contemporary abstract painting belies a highly stylized, self-conscious approach to image construction.
After being run through the pressure chamber of Conceptual Art, geometric forms for many artists working today are not indicative of a strict allegiance to any kind of school of non-objective thought or practice. From the storied history laid out in the rooms of “Geo/Metric” it seems that geometry in art has indeed reached its highest accomplishment: the freedom of eternal fresh starts.
Nemire’s paintings carry the same obscure emotional charge as video color test bands, glowing stripes of pure color that signal a pause before the start of the video’s narrative. The paintings are all variations on that “before” moment, endowing it with resonance as the primary subject.
The overriding mood in the gallery is inexplicably hopeful, perhaps a subliminal effect of the Buckminster Fuller term, “Tensegrity,” given to the exhibition. Fuller’s theory of tensegrity, the harmonious synergy and tension of parts within an integral structure.